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On the Engraved Portraits and Pretended Portraits of Milton

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On the Engraved Portraits and Pretended Portraits of Milton 135 ON THE ENGRAVED PORTRAITS AND PRETENDED PORTRAITS OF MILTON. By John Fitchett Marsh, Esq. READ SBD MAY, 1860. While volumes have heen written on the portraits of Shakespeare, the information obtainable respecting those of Milton is confined to a few scattered notes of his biographers and commentators, the most copious account being one in Todd's Life, copied, with some additions, from Mr. Warton's note to Milton's Greek epigram, " In effigiei ejus sculptorem." The reason for this scarcity of information is not that less is known of the portraits of our greatest epic, than of those of our greatest dramatic poet, but that, on the contrary, more being known, less has been left to con­ jecture ; but, unfortunately, the existing materials have been so used by successive commentators each adopting and adding to the mistakes of his predecessors as to produce an amount of confusion from which it is my hope to assist in extricating the subject. The objects I propose to myself in the present paper are, to examine the relation in which the usually received portraits stand to each other, to collect the scattered notices of them, and thus to render them available for the illustration of a connected series of representations of the poet's features. It is of ENGRAVED PORTRAITS only that I propose to treat, having no opportunities for making myself acquainted with the original pictures and drawings. The extent of the materials for a catalogue is greater than perhaps would be generally supposed : for while Granger's list comprises 37 portraits, Bromley's only 25, and Evans's 42, I have been enabled not only to compile a catalogue of 161, but to produce upwards of 150 for your inspection. The portrait painted at the age of ten, now in the possession of Mr. Disney; that at the age of twenty-one, purchased from the executor of Milton's widow by Speaker Onslow; the print engraved by Marshal, for the first edition of the minor poems, in 1645 ; and that prefixed to the 136 'first edition of the History of Britain, inscribed " Gul. Faithorne ad vivum " delin. et sculpsit, 1670," at the age of 62, form a series of unquestionable authenticity, taken at various periods of the Poet's life, and presenting such marked difference of feature as to create no risk of mistake or con­ fusion among them. Their peculiarities and history will be more fitly noticed when we come to describe them in detail; but the name of Faithorne has been so unwarrantably mixed up with the mistakes and falsifications which I shall presently have to expose, that it will be con­ venient, before proceeding further, to describe the characteristics by which his celebrated engraving, and the large number of portraits derived from it, may be distinguished. If, in doing this, I say little about expression and features, it is because they are more easily conveyed to the mind by actual inspection than described by words, and because the caprice or incompetence of engravers may readily produce such a variation in them as effectually to disguise the source from which their subject has been derived; whereas peculiarities of dress and attitude, though in some respects secondary considerations, are usually found so persistently pre­ served as to furnish satisfactory evidence of a common origin. The Faithorne engraving, then, may be distinguished by the following charac­ teristics : The face is turned in the same direction as the bust. There is a broad Genevan band, * the nearer hulf of which lies quite straight, and the other half falls in several folds, beneath which is seen a tassel. * As we shall have to mention the distinguishing costumes of the various portraits, it will be well to explain the sense in which several terms are used, especially as the name of the modern academic badge connects the idea of " bunds", in popular estima­ tion, ruther with the Genevan band here referred to than with the article of dress to which the term " band" was originally applied. The circular ruff, with its ample plaits, is familiar to us in the portraits of Queen Elizabeth's courtiers. In the succeeding reign (see J'lanche on Bnt'tsh Cosf.ume, ed. 1847, p. 350), " the ruff was occasionally " exchanged for a wide stiff collar, standing out horizontally and squarely, made of the " same stuff, and starched and wired as usual, but plain instead of plaited or pinched, "and sometimes edged, like the ruff, with laco: these collars were called 'Bands'" from which conies the term " band-box" and Fairholt in the Glossary to his History of Costume defines the BAND as " a collar of linen or cambric, surrounding the neck, " and which was stiffened with starch, or underpropped; or else allowed to fall npon the " shoulders, when it was termed a 'falling-bund'." The Janssen portrait and that de­ scribed in tlie Gent. Mag. so closely resembling it (No. 4) furnish excellent illustrations of the " baud" and "falling-band" respectively: it is an error to confound either one or the other with the " ruff." Deprived of their laced edges the sides cut away that they might not fall over the shoulder and the parts overhanging the chest cut square the transition is easy from the " falling-bands" to the " Geneva bands," which, Mr. Planche observes, are " like those worn by our modern clergymen and councillors, " except that instead of being two small pieces worn for distinction merely, they were " bona fide collars, the ends of which hung negligently out over the waistcoat." (p. 390.) For a fair specimen of the transition here spoken of see the print numbered 151. III. H. S. o» L. & C. Vot. XII. No. 1. No. -t. Janssen's Portrait. Prom an Engraving by Portrait from " Gentleman's Magazine," Cipriani. vol. tvn. No. 5. No. 21. The Onalow Portrait. From an Engraving Marshal's Engraving, 1B46. by Vertue. 1H7 The drapery, which falls so as to cover the vest except the two upper buttons, is drawn rather tight over the nearer shoulder. A thick fold, a little below, takes a direction more nearly approaching the horizontal; and below that, the edge or a thin fold of the material takes a peculiar curve from one side of the figure to the other. Leaving these distinctive marks to be borne in mind when we come to compare the portraits with which this original has been confounded, I will proceed! to notice the circumstances from which the confusion I refer to has arisen. Several applications seem to have been made to Deborah Clarke, Milton's youngest daughter, who survived him until the year 1727, for her opinion on the authenticity of supposed portraits of her father. The first is related in a letter from Vertue to Mr. Christian, the seal engraver, preserved in the British Museum,* and is as follows: " Mr. Christian Pray inform my Lord Harleyt that I have on Thursday " last seen the Daughter of Milton the Poet. I carry'd with me two or " three different Prints of Milton's picture which she immediately knew to " be like her father & told me her mother in Law (if | living in Cheshire) " had two pictures of him, one when he was a school boy & the other when " about § twenty. She knows of no other picture of him because she was " several years in Ireland both before & after his Death. She was the " youngest of Milton's daughters by his first wife and was taught to read " to her father several Languages. Mr. Addison was desirous to see her " once & desired she would bring with her Testimonials of her being " Milton's daughter. But as soon as she came into the Room he told her " she needed none, her face haveing much of the likeness of the pictures " he had seen of him. For my part I find the features of her Face very « This letter lias been printed in the Gent. Mag. (1831); in the Memoirs of Thomas Hollis ; and in Ivimey's and Masson's Biographies, and perhaps elsewhere. In some of these the reference is to Hart. MSS. 7003, /. 17B, and in others to Add. MSS. 5lll6«, f. 71. The fact is that the former is the original letter, and the latter a transcript of it in the handwriting of Dr. Birch, which, though nearly accurate, has, from its not being quite so legible as the original, led to inaccuracies in subsequent copies. Having stumbled on this fact at the Museum, I took the trouble of collating the two manu­ scripts ; and the letter in the text is a literatim copy of the original. t Lord Henley. (Ivimey's Life of Milton, p. 320.) { The "if" is omitted in Birch's copy. Vertue had originally written "is," but altered it with the pen. The doubt expressed, though immaterial to our present purpose, is confirmatory of observations I have made elsewhere on the indifference with which Milton's widow was spoken of by his family, § " Above" in Birch's copy. 138 "much like the Prints. I showd her the Painting I have to engrave " which she believes not to be her Father's picture, it being of a Brown " complexion & black hair & curled locks on the contrary he was of a " fair complexion a little red in his cheeks & light brown lanck hair. I " desire you woud acquaint Mr. Prior I was so unfortunate to wait on him " on Thursday morning last just after he was gone out of Town it was " with * this intent, to enquire of him if he remembers a picture of Milton " in the late Lord Dorsett's collection as I am told this f was or if he " can inform me how I shall enquire or know the truth of this affair.
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